Showing posts with label david wax museum. Show all posts
Showing posts with label david wax museum. Show all posts
Friday, September 8, 2017
Thursday, July 20, 2017
DAVID WAX MUSEUM’S ‘ELECTRIC ARTIFACTS’ TOUR CELEBRATING TEN YEARS OF MUSIC MAKING, AND THEIR 1000TH SHOW
This fall, with their two young children in tow, Mexo-Americana pioneers
David Wax Museum will embark on the “Electric Artifacts” tour –
celebrating their 10th anniversary as a band, and featuring their 1000th
show.
The Electric Artifacts tour spans ten cities and explores the roots of David Wax Museum. Beginning with a series of house shows in Washington, DC that feature duo performances from David Wax & Suz Slezak, the tour explores many of the markets that helped propel the band to the national stage over the past decade. With full band shows, featuring a horn section, the tour winds its way from current hometown Charlottesville, to their previous hometowns of Northampton and Boston, with stops along the way in Baltimore, Thomas WV, Philadelphia, Saratoga Springs, and New York City. The 1000th show of their career will be a secret show on September 22, at a location to be announced.
The roots of David Wax Museum stretch back nearly a decade, and all the way from New England to Mexico. As a student at Harvard, Wax began traveling south of the border to study and immerse himself in the country's traditional music and culture.
Back in Boston, he met fiddler/singer Suz Slezak, whose love of traditional American and Irish folk music fused with Wax's Mexo-Americana into a singular, energetic blend that captivated audiences and critics alike. Their 2010 breakout performance at the Newport Folk Festival made them the most talked-about band of the weekend, with NPR hailing them as "pure, irresistible joy." They released a trio of albums that earned escalating raves everywhere from SPIN and Entertainment Weekly (who described them as sounding "like Andrew Bird with a Mexican folk bent") to the New York Times and The Guardian (which dubbed the music "global crossover at its best"). They earned an invitation to return to Newport, this time on the main stage, as well as dates supporting The Avett Brothers, The Carolina Chocolate Drops, Buena Vista Social Club, and more.
It was on the road over these past few years as the band and audiences grew, though, that Wax could feel their exuberant live show evolving beyond its formative roots.
"I felt empowered to start the band because of my time in Mexico studying folk music," Wax explains. "In Boston, the term 'Americana' or 'folk' was just this catchall to describe what everyone was doing. It was helpful to use that to talk about our music at first, but we've found that our hearts feel most shaken, and the band fires on all cylinders, when we're putting on a rock show. What we've tried to retain about our folk origins is the warm sound of people playing acoustic instruments together in a room."
Acoustic Duo Shows:
September 6 – Washington, D.C. – House Concert
September 7 – Washington, D.C. – House Concert
September 8 – Washington, D.C. – House Concert
September 9 – Washington, D.C. – House Concert
September 9 – Alexandra, VA – House Concert
September 11 – Washington, D.C. – House Concert
Full Band With Horns:
September 10 – Baltimore, MD – Creative Alliance
September 14 – Charlottesville, VA – The Southern
September 15 – Thomas, WV – The Purple Fiddle
September 16 – Philadelphia, PA – Johnny Brenda’s
September 17 – Saratoga Springs, NY – Caffe Lena
September 20 – New York, NY – Mercury Lounge
September 21 – Boston, MA – Lizard Lounge (moved from City Winery)
September 22 – 1000th Show – Mystery Location TBA
September 23 – Northampton, MA – The Parlor Room
The Electric Artifacts tour spans ten cities and explores the roots of David Wax Museum. Beginning with a series of house shows in Washington, DC that feature duo performances from David Wax & Suz Slezak, the tour explores many of the markets that helped propel the band to the national stage over the past decade. With full band shows, featuring a horn section, the tour winds its way from current hometown Charlottesville, to their previous hometowns of Northampton and Boston, with stops along the way in Baltimore, Thomas WV, Philadelphia, Saratoga Springs, and New York City. The 1000th show of their career will be a secret show on September 22, at a location to be announced.
The roots of David Wax Museum stretch back nearly a decade, and all the way from New England to Mexico. As a student at Harvard, Wax began traveling south of the border to study and immerse himself in the country's traditional music and culture.
Back in Boston, he met fiddler/singer Suz Slezak, whose love of traditional American and Irish folk music fused with Wax's Mexo-Americana into a singular, energetic blend that captivated audiences and critics alike. Their 2010 breakout performance at the Newport Folk Festival made them the most talked-about band of the weekend, with NPR hailing them as "pure, irresistible joy." They released a trio of albums that earned escalating raves everywhere from SPIN and Entertainment Weekly (who described them as sounding "like Andrew Bird with a Mexican folk bent") to the New York Times and The Guardian (which dubbed the music "global crossover at its best"). They earned an invitation to return to Newport, this time on the main stage, as well as dates supporting The Avett Brothers, The Carolina Chocolate Drops, Buena Vista Social Club, and more.
It was on the road over these past few years as the band and audiences grew, though, that Wax could feel their exuberant live show evolving beyond its formative roots.
"I felt empowered to start the band because of my time in Mexico studying folk music," Wax explains. "In Boston, the term 'Americana' or 'folk' was just this catchall to describe what everyone was doing. It was helpful to use that to talk about our music at first, but we've found that our hearts feel most shaken, and the band fires on all cylinders, when we're putting on a rock show. What we've tried to retain about our folk origins is the warm sound of people playing acoustic instruments together in a room."
Acoustic Duo Shows:
September 6 – Washington, D.C. – House Concert
September 7 – Washington, D.C. – House Concert
September 8 – Washington, D.C. – House Concert
September 9 – Washington, D.C. – House Concert
September 9 – Alexandra, VA – House Concert
September 11 – Washington, D.C. – House Concert
Full Band With Horns:
September 10 – Baltimore, MD – Creative Alliance
September 14 – Charlottesville, VA – The Southern
September 15 – Thomas, WV – The Purple Fiddle
September 16 – Philadelphia, PA – Johnny Brenda’s
September 17 – Saratoga Springs, NY – Caffe Lena
September 20 – New York, NY – Mercury Lounge
September 21 – Boston, MA – Lizard Lounge (moved from City Winery)
September 22 – 1000th Show – Mystery Location TBA
September 23 – Northampton, MA – The Parlor Room
David Wax Museum bio
“Suz and I started this band as friends,” says David Wax, “but now
we’re married and have a child and have our family on the road with us.
The stakes are different.”
Those stakes are what lie at the heart of David Wax Museum’s fourth and boldest studio album to date, Guesthouse (to be released October 16 on Thirty Tigers). It’s the sound of a band reconciling the accountability of marriage and parenthood with the uncertainty and challenges of life on the road; of coming to terms with the limitations of the “folk” tag that launched their career and pushing past it into uncharted musical territory; of reimagining their entire approach in the studio to capture the magic and the bliss of their live show. In typical David Wax Museum fashion, the songs on Guesthouse are simplistic and sophisticated, elegant and plainspoken all at once. Rather than succumbing to the weight of the newfound responsibilities that landed on their doorstep, the band has leaned into the challenges to capture a brilliant portrait of the messy beauty of it all.
The roots of David Wax Museum stretch back nearly a decade, and all the way from New England to Mexico. As a student at Harvard, Wax began traveling south of the border to study and immerse himself in the country’s traditional music and culture. Back in Boston, he met fiddler/singer Suz Slezak, whose love of traditional American and Irish folk music fused with Wax’s Mexo-Americana into a singular, energetic blend that captivated audiences and critics alike. Their 2010 breakout performance at the Newport Folk Festival made them the most talked-about band of the weekend, with NPR hailing them as “pure, irresistible joy.” They released a trio of albums that earned escalating raves everywhere from SPIN and Entertainment Weekly (who described them as sounding “like Andrew Bird with a Mexican folk bent”) to the New York Times and The Guardian (which dubbed the music “global crossover at its best”). They earned an invitation to return to Newport, this time on the main stage, as well as dates supporting The Avett Brothers, The Carolina Chocolate Drops, Buena Vista Social Club, and more.
It was on the road over these past few years as the band and audiences grew, though, that Wax could feel their exuberant live show evolving beyond its formative roots.
“I felt empowered to start the band because of my time in Mexico studying folk music,” Wax explains. “In Boston, the term ‘Americana’ or ‘folk’ was just this catchall to describe what everyone was doing. It was helpful to use that to talk about our music at first, but we’ve found that our hearts feel most shaken, and the band fires on all cylinders, when we’re putting on a rock show. What we’ve tried to retain about our folk origins is the warm sound of people playing acoustic instruments together in a room. But, by embracing more of an indie rock approach, we’ve colored this record with synthesizers, layers of percussion, and adventurous sonic processing. The mental shift of it helped us feel like we could do anything we wanted. There were no rules that we had to follow in terms of what was ‘authentic.'”
Part of the inspiration for the shift was the presence of guitarist and producer Josh Kaufman, who sat in with the band on tour and added new sounds and textures that the they’d never experimented with before. When it came time to record Guesthouse, the band knew he had to helm it in the studio.
“The songs entered this Technicolor, 3D world with Josh,” explains Wax. “Aside from his contributions to the arrangements, he really wanted us all to be in a room playing the music together live so that the groove would be central. We brought in two other drummers, and there was a real focus on having as much percussion happening at the same time as possible. We gravitate towards that naturally because of the Mexican influences, all of the syncopations and 6/8 dance rhythms and the energy that that gives us, but we really embraced it this time around.”
Those stakes are what lie at the heart of David Wax Museum’s fourth and boldest studio album to date, Guesthouse (to be released October 16 on Thirty Tigers). It’s the sound of a band reconciling the accountability of marriage and parenthood with the uncertainty and challenges of life on the road; of coming to terms with the limitations of the “folk” tag that launched their career and pushing past it into uncharted musical territory; of reimagining their entire approach in the studio to capture the magic and the bliss of their live show. In typical David Wax Museum fashion, the songs on Guesthouse are simplistic and sophisticated, elegant and plainspoken all at once. Rather than succumbing to the weight of the newfound responsibilities that landed on their doorstep, the band has leaned into the challenges to capture a brilliant portrait of the messy beauty of it all.
The roots of David Wax Museum stretch back nearly a decade, and all the way from New England to Mexico. As a student at Harvard, Wax began traveling south of the border to study and immerse himself in the country’s traditional music and culture. Back in Boston, he met fiddler/singer Suz Slezak, whose love of traditional American and Irish folk music fused with Wax’s Mexo-Americana into a singular, energetic blend that captivated audiences and critics alike. Their 2010 breakout performance at the Newport Folk Festival made them the most talked-about band of the weekend, with NPR hailing them as “pure, irresistible joy.” They released a trio of albums that earned escalating raves everywhere from SPIN and Entertainment Weekly (who described them as sounding “like Andrew Bird with a Mexican folk bent”) to the New York Times and The Guardian (which dubbed the music “global crossover at its best”). They earned an invitation to return to Newport, this time on the main stage, as well as dates supporting The Avett Brothers, The Carolina Chocolate Drops, Buena Vista Social Club, and more.
It was on the road over these past few years as the band and audiences grew, though, that Wax could feel their exuberant live show evolving beyond its formative roots.
“I felt empowered to start the band because of my time in Mexico studying folk music,” Wax explains. “In Boston, the term ‘Americana’ or ‘folk’ was just this catchall to describe what everyone was doing. It was helpful to use that to talk about our music at first, but we’ve found that our hearts feel most shaken, and the band fires on all cylinders, when we’re putting on a rock show. What we’ve tried to retain about our folk origins is the warm sound of people playing acoustic instruments together in a room. But, by embracing more of an indie rock approach, we’ve colored this record with synthesizers, layers of percussion, and adventurous sonic processing. The mental shift of it helped us feel like we could do anything we wanted. There were no rules that we had to follow in terms of what was ‘authentic.'”
Part of the inspiration for the shift was the presence of guitarist and producer Josh Kaufman, who sat in with the band on tour and added new sounds and textures that the they’d never experimented with before. When it came time to record Guesthouse, the band knew he had to helm it in the studio.
“The songs entered this Technicolor, 3D world with Josh,” explains Wax. “Aside from his contributions to the arrangements, he really wanted us all to be in a room playing the music together live so that the groove would be central. We brought in two other drummers, and there was a real focus on having as much percussion happening at the same time as possible. We gravitate towards that naturally because of the Mexican influences, all of the syncopations and 6/8 dance rhythms and the energy that that gives us, but we really embraced it this time around.”
That emphasis on groove sucks you in from the opening seconds of the kickoff track, “Every Time Katie,”
a whispered come-on that roils and pulses like an anxious heartbeat and
features gorgeous call and response vocals from David and Suz. It’s
followed by “Dark Night Of The Heart,” which pushes the
sonic envelope further than any previous David Wax Museum track,
blending chamber strings, psychedelic vocal filters, explosive drums,
and swirling synthesizers.
Written partially in Mexico and partially in western Massachusetts, the lyrics on Guesthouse find Wax writing with more direct, personal honesty than ever before.
“I had felt really reluctant to talk about personal stuff in the past,” says Wax. “I was writing personally, but there were lots of things I was obfuscating or filtering through a character to protect myself from putting too much out there. But it got to a point where it was taking a lot more energy than it was worth to maintain that privacy. When we had our daughter, Calliope, it felt like this sudden release because talking and singing about our lives was becoming more and more integral to what we were doing as artists and who we were as people.”
The title track, which draws on several traditional Mexican songs for musical inspiration, is a tongue-in-cheek reflection on the life of a traveling musician hunting for a free place to crash, while “Lose Touch With The World” faces down the reality of living a life far removed from that of your friends and family, and “Young Man” is an earnest musing on growing older.
“It’s about being a parent and coming to terms with what your ambition is,” explains Wax. “What part of that is essential to who you are, and what part can you let go of? We have to check in with ourselves and ask what we’re doing and why we’re doing it more often now because we’re not just us putting ourselves through the mental and physical sacrifices of touring anymore,” he continues. “Now Calliope is going through it with us, and Suz’s dad and my cousin Jordan are going through it with us on the road. And because we’re constantly checking and making sure we’re doing this for the right reasons, that we feel honest in our hearts about it, I think that’s brought new life to what we’re doing and a new energy and a new level of commitment.”
It’s a sentiment brought beautifully to life on “Everything Changes,” as Wax and Slezak sing, “Everything changes / when two becomes three.” The song was written in response to all of the good-natured warnings about what having a child would mean for the couple, the freedom and sleep and sanity they might lose out on. Instead, they choose to focus on everything they’ve gained: a beautiful daughter, a stronger bond with their families and fans than ever before, and without a doubt, the most exciting album of their career. For David Wax Museum, the stakes may be higher, but that just means the rewards are even bigger.
Written partially in Mexico and partially in western Massachusetts, the lyrics on Guesthouse find Wax writing with more direct, personal honesty than ever before.
“I had felt really reluctant to talk about personal stuff in the past,” says Wax. “I was writing personally, but there were lots of things I was obfuscating or filtering through a character to protect myself from putting too much out there. But it got to a point where it was taking a lot more energy than it was worth to maintain that privacy. When we had our daughter, Calliope, it felt like this sudden release because talking and singing about our lives was becoming more and more integral to what we were doing as artists and who we were as people.”
The title track, which draws on several traditional Mexican songs for musical inspiration, is a tongue-in-cheek reflection on the life of a traveling musician hunting for a free place to crash, while “Lose Touch With The World” faces down the reality of living a life far removed from that of your friends and family, and “Young Man” is an earnest musing on growing older.
“It’s about being a parent and coming to terms with what your ambition is,” explains Wax. “What part of that is essential to who you are, and what part can you let go of? We have to check in with ourselves and ask what we’re doing and why we’re doing it more often now because we’re not just us putting ourselves through the mental and physical sacrifices of touring anymore,” he continues. “Now Calliope is going through it with us, and Suz’s dad and my cousin Jordan are going through it with us on the road. And because we’re constantly checking and making sure we’re doing this for the right reasons, that we feel honest in our hearts about it, I think that’s brought new life to what we’re doing and a new energy and a new level of commitment.”
It’s a sentiment brought beautifully to life on “Everything Changes,” as Wax and Slezak sing, “Everything changes / when two becomes three.” The song was written in response to all of the good-natured warnings about what having a child would mean for the couple, the freedom and sleep and sanity they might lose out on. Instead, they choose to focus on everything they’ve gained: a beautiful daughter, a stronger bond with their families and fans than ever before, and without a doubt, the most exciting album of their career. For David Wax Museum, the stakes may be higher, but that just means the rewards are even bigger.
Wednesday, July 19, 2017
Monday, November 18, 2013
LEYLA MCCALLA TO SHOWCASE AT APAP ALONGSIDE DAVID WAX MUSEUM, WESLEY STACE, ARC IRIS, JOY KILLS SORROW
MCCALLA CASTS "A CHARMING, RESONANT SPELL" (THE
GUARDIAN)
Leyla McCalla – Carolina Chocolate Drops member and
vocalist/cellist whose solo album 'Vari-Colored Songs: A Tribute To Langston
Hughes' will be released February 4 on Music Maker Relief Foundation – has been
added to an APAP showcase January
10 at City Winery with Wesley Stace hosting. She joins a bill with Stace (formerly John Wesley Harding),
David Wax Museum, Arc Iris (Jocie Adams, formerly of The Low Anthem), Joy Kills
Sorrow, Sam Lee, and Grace & Tony.
'Vari-Colored Songs' is a stunning solo debut consisting of
original music set to Langston Hughes music; Haitian folk songs; and two
originals.
WHO: Leyla McCalla, on a bill with David Wax Museum, Arc
Iris, Joy Kills Sorrow, and others
WHAT: Wesley Stace's APAP Showcase
WHEN: Friday, January 10, 2014, 6:00pm doors, 8:00pm start
WHERE: City Winery, 155 Varick St, NYC
TICKETS: $18, 20, 25 at City Winery box office and
CityWinery.com
There is already buzz in the UK, where she has played on
three BBC programs and the Guardian made her subject of a profile and a
four-star review, saying that the album casts "a charming, resonant
spell." Last month, she opened for Mavis Staples. Clive Davis of the Times
(UK) called 'Vari-Colored Songs' a "triumph… unforgettable."
Meanwhile, Songlines Magazine named 'Vari-Colored Songs' one of its top ten new
albums, calling it "exquisite," continuing, "Anyone who's seen
the Carolina Chocolate Drops will have been warmed by this young woman's
artistry… this exploration of the city's under-explored Caribbean currents is
most welcome; the Big Easy is, after all, as close – both geographically and
culturally – to Port-au-Prince as it is to New York City."
Monday, March 25, 2013
FOR BREAKOUT ALBUM 'BATTLES,' KINGSLEY FLOOD TAPS PRODUCER SAM KASSIRER, WHO "HAS SHAPED SOME OF THE FINEST RECORDS IN CONTEMPORARY AMERICANA MUSIC" (BOSTON GLOBE)
Sam Kassirer – the producer who has helmed three albums by
Josh Ritter as well as projects by David Wax Museum and Langhorne Slim – speaks
highly of his experience working with band Kingsley Flood on their breakout
album 'Battles' (out now). He says, "What excited me about working with
Kingsley Flood was their ability to write songs that one can sink their teeth
into but also just bob their head to in the car. 'Battles' dips in and out of
those musical depths in a really rewarding way for me."
The producer was recently the subject of a Boston Globe
feature, which goes into depth about the Great North Sound Society, Kassirer's
farmhouse/studio in southern Maine. Of the Kingsley sessions, he recalls,
"The whole band spending two weeks in a farmhouse in rural Maine really
brought everyone together creatively to make the most powerful statement
possible and I think this comes across on 'Battles.'
Kingsley Flood will make its Newport Folk Festival debut
this summer and has seen tracks debut at Rolling Stone and MTV.com.
Tuesday, March 19, 2013
Kingsley Flood bio
Boston and Washington, DC based six-piece Kingsley Flood released their first full-lenth Dust Windows in 2010, generating both critical acclaim and a passionate fan base. In 2011, the band issued the six-song EP Colder Still, with tracks that were touted by NPR, Esquire, and Paste.The band, described recently by the Boston Herald as a
“Rolling Thunder Revue with a punk rock sneer,” has supported Grace
Potter and Nocturnals, Angus and Julia Stone, Langhorne Slim, and Brett
Dennen, among others, and is a two-time winner at both the Boston Music
Awards and the Boston Phoenix Best Music Poll.
In 2013, Kingsley Flood has no plans to sit still. Battles, their
latest full-length (released Feb. 5), is the band’s most honed,
complex, and meaningful project to date. Recorded with producer Sam
Kassirer (Josh Ritter, Langhorne Slim, David Wax Museum) at Great North
Sound Society in rural Maine, Battles amplifies the band’s
pension for dynamics — rock songs that can fill music halls, quiet songs
that sound two feet away.The resulting sound blends Dylan-esque
storytelling, Kinks-inspired melodies, and the urgency of the
Clash. With songs inspired by everyone from delusional dictators to
spray-tanned politicians to laid-off workers trying to get back on their
feet, Battles winds a deliberate path from self doubt (opener
“Don’t Change My Mind”) to quiet determination (closer “This Will Not Be
Easy”).The band is:
- Naseem Khuri: vocals, rhythm guitar
- Jenée Morgan: violin, saxophone, vocals
- Chris Barrett: trumpet, keys, percussion, vocals
- George Hall: lead guitar, vocals
- Nick Balkin: bass, vocals
- Travis Richter: drums, percussion
Wednesday, April 25, 2012
NEWPORT FOLK FESTIVAL-BOOKED AND "BEST OF WHAT'S NEXT" (PASTE MAGAZINE) BROOKLYN BAND SPIRIT FAMILY REUNION SETS JUNE 15 RELEASE FOR DEBUT ALBUM 'NO SEPARATION'
NEW YORKERS AND WASHINGTONIANS: SFR PLAYING IN YOUR TOWN IN
MAY
Spirit Family Reunion – the six-piece Brooklyn band which is
set to play at Newport Folk Festival and is "best of what's next"
according to Paste Magazine – will release its debut full-length album 'No
Separation' June 15.
All six members of Spirit Family Reunion sing and the
harmonies, which are unplanned, are simply stunning, led by the soulful voices
of guitarist Nick Panken, fiddler Mat Davidson, and banjo player Maggie Carson.
The band's repertoire, chemistry, harmonies, and instrumentation came to
fruition with a weekly residency at the Lovin' Cup Café in Williamsburg,
playing without a PA. The band has since expanded its fanbase by opening for
the late Levon Helm, The Alabama Shakes, and David Wax Museum; playing Gowanus
and Bushwick parties; busking in Union Square; and touring extensively, at one
point in a former Navy van, all without a booking agent.
Spirit Family Reunion makes high-energy original,
contemporary American music with the spirit of an old-time church revival but
with a universal, secular spirit. Singer Panken says, "I write simple
songs that anyone could pick up on. I want to take the church feeling and make
it more universal." Audience members dance, holler, stomp, shout, and
chant along until the line between performer and fan is blurred and a community
is created by the act of the concert.
In addition to their own songs, Spirit Family Reunion
recorded a stunning version of "Green Green Rocky Road," featuring
undeniably soulful vocals from Mat Davidson. The song comes from the repertoire
of Dave Van Ronk (about whom the Coen Brothers are presently making a film);
and "Give Me Wings," which they learned from an undated acetate that
drummer Peter Pezzimenti found at a Salvation Army by the mysteriously named
King Cunningham.
Other high points on the album include the banjo-led "I
Want To Be Relieved," the song of gratitude "To All My Friends And
Relations," and the hallelujah-inducing "I Am Following the
Sound."
'No Separation' was recorded in Brooklyn and Richmond, VA
with the help of bike shop mechanic and recording engineer Andrew Gerhan.
Spirit Family Reunion will perform in New York at Mercury
Lounge May 12 and near Washington, D.C. at Jammin' Java May 21. Other tour
dates are posted here.
Spirit Family Reunion is Carson (banjo and vocals), Davidson
(fiddle and vocals), Panken (guitar and vocals), Pezzimenti (drums and vocals),
Stephen Weinheimer (washboard, drums, and vocals), and Ken Woodward (upright
bass and vocals).
Wednesday, April 11, 2012
Newport-Booked Spirit Family Reunion Prepping Debut, Opened For Levon Last Month
Spirit Family Reunion, the Brooklyn outfit which plays original American music rooted in old time, gospel, and traditional folk, is in the studio this week mixing their debut full-length album for summer release. The band is set to break out in 2012, with a Newport Folk Festival booking and having opened for Levon Helm and David Wax Museum. Spirit Family Reunion plays timeless, homegrown American music that has fans stomping, clapping, shaking and hollering.
Paste Magazine recently compared them to The Band, naming them a "best of what's next." Click here to read the Paste feature and hear "When My Name Is Spoken." Jeff Giles writes, "All dusty acoustic guitars, wailing fiddles and weeping accordions, with a woozy-yet-skintight rhythm section—and topped off with burr-edged vocals that sound like they’ve been soaked in a Mason jar for generations—it’s the type of music that blurs the line between past and present so thoroughly, and so deftly, that time feels irrelevant."
To hear previous tracks from Spirit Family Reunion, please click here.
Baeble Music said, "Enter Spirit Family Reunion, a group with so much country soul they make the mountains of the Carolinas look like Northern New Jersey."
Spirit Family Reunion Tour Dates:
Apr 14 Brown Folk Festival Providence, RI
Apr 15 Brunch Session Boston, MA
Apr 15 Brighton Music Hall Allston, MA
Apr 16 Bowery Electric New York, NY
Apr 20 The Kenmore Inn Fredericksburg, VA
Apr 21 Rhythm n Blooms Festival Knoxville, TN
Apr 26 House Concert Providence, RI
Apr 27 The Oak and the Ax Biddeford, ME
Apr 28 Belfast Free Range Music Festival Belfast, ME
May 11 TomTom Festival Charlottesville, VA
May 12 Mercury Lounge New York, NY
May 21 Jammin' Java Vienna, VA
Jul 26 FloydFest Floyd, VA
Jul 27 FloydFest Floyd, VA
Jul 28 Newport Folk Festival Newport, RI
Sep 21 Fresh Grass Festival at Mass MoCA North Adams, MA
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